środa, 24 kwietnia 2024

Szymon Wójcik - "All the Wonders of Six Little Spoons"

Szymon Wójcik

Szymon Wójcik - electric guitar, compositions
Thea Soti - voice
Ferdinand Schwarz - trumpet
Jonas Engel - alto sax, clarinet
Victor Fox - bass clarinet
Emilia Gołos - piano
Zoe Argyriou - vibraphone, timpani, bass drum
Magdalena Lorenz - violin
Jonas Gerigk - double bass
Anthony Greminger - drums

Tytuł albumu: All the Wonders of Six Little Spoons

Wydawca: Gotta Let It Out, Denmark (2023)

Autor recenzji: Viačeslavas Gliožeris

Polish guitarist Szymon Wójcik played with Swede Mats Gustafsson as part of Mats Hidros 9 large-scale project, combining two 9-piece bands (Polish and Norwegian) and six renown international soloists including American bass-sax player Colin Stetson, Norwegian female guitarist Hedwig Mollestad and Austrian turntables wizard Dieb13. Still, for Polish listener Szymon is probably better known by his avant-punk band RASP Lovers.

On “All the Wonders of Six Little Spoons” Szymon (now based in Cologne, Germany) offers an ambitious work as composer. Besides of multinational band which contains reeds section, pianist, vibes player, violinist, acoustic bassist, drummer and voice artist, Szymon plays an electric guitars as well. New album's music is different from RASP Lovers and Szymon collaboration with Mats Gustafsson both. Based on Gertrude Stein poems, album's music sounds closer to Musique concrète and academic avantgarde from the second half of 20th century than to once popular free jazz and poetry mix of Amiri Baraka.

“All the Wonders...” opens with almost static aerial “Blackening” with distant anemic voice of Serbian-Hungarian, Germany-based artist Thea Soti. “Go Red Laugh White” is more energetic, more angular, but still same cold and dark song, with free jazz reeds and piano intersections. “Suppose A Collapse” offers a Dadaist surreal atmosphere with lot of sax free soloing which surprisingly develops towards quite lyrical vocalize. “Sokrates Im Supermarkt” (two parts) opens as clock-work retro-mechanic composition, which ends up as slow and dark viscous tune. The closer, ”Daffodilis”, is based on Polish artist Monika Orpik (who is responsible for album's cover art as well) poem. It contains multilayered vocalize, heavier drums and is more energetic.

It's interesting, that the album, sounding as if it is heavily based on electronics, contains no synth or electronics at all. All ambient sounds are produced by ”live” instruments what gives to the music much more “human” feel. Been inclement by its atmosphere, this album doesn't sound as non-human, machine work. It recalls me a lot some great Keith and Julie Tippets experimental works, just transferred to the Weimar Republic's and Berlin (electronic) school land.

Not really a release for entertainment, it offers some interesting ideas and aesthetics to open ears listener's head. I really like it.

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